Euphony is a harmony of form and content, an arrangement of sound combinations, producing a pleasant effect.

Euphony: n Those evening bells, those evening bells How many a tale their music tells Of youth and home and that sweet time When last I heard their soothing chime. /Thomas Moore (1779 – 1852) an Irish poet, singer, songwriter/ n The murmuring of innumerable bees.

Cacophony: Cacophony is a disharmony of form and content, an arrangement of sounds, producing an unpleasant effect. E. g. : “the murdering of innumerable beeves”.

Assonance: n It is the hour when from the boughs n The nightingales’ high note is heard; n It is the hour when lovers’ vows n Seem sweet in every whispered word, n And gentle winds and waters near, n Make music to the lonely ear. /George Gordon Byron/

Onomatopoeia (from Greek onoma name + poiein to make) is the choice of sounds capable of suggesting the image of the object by their very sounding, imitating the signified object or action.

Rhyme is the repetition of identical or similar terminal sound combinations of words.

Rhyme (according to the types of terminal syllables) Full rhyme: might - right n The male rhyme: the stress is on the last syllable of the line: The light in the dust lies dead; n The female rhyme: the stress falls on the last but one syllable: When the lamp is shattered; but one Incomplete rhyme: n Consonant rhyme: worth – forth n Vowel rhyme: flesh - press Eye - rhyme: love – prove, woods - floods

My Heart's In The Highlands by R. Burns My heart's in the Highlands, my heart is not here, My heart's in the Highlands a-chasing the deer A-chasing the wild deer, and following the roe; My heart's in the Highlands, wherever I go. Farewell to the Highlands, farewell to the North The birth place of Valour, the country of Worth; Wherever I wander, wherever I rove, The hills of the Highlands for ever I love. Farewell to the mountains high cover'd with snow; Farewell to the straths and green valleys below; Farewell to the forrests and wild-hanging woods; Farwell to the torrents and loud-pouring floods.

Types of rhymes (according to the position of rhyming syllables in the stanza ): 1) couplet: aa: reaps keeps 2) triplet: aaa 3) cross rhyme: abab: Loud Song Cloud Long

Types of rhymes: 4) frame (ring): abba: Much have I travell’d in the realms of gold, And many goody states and kingdoms seen; Round many western islands have I been Which bards in fealty(=loyalty)to Apollo hold. (J. Keats) 5) internal rhyme “I dwelt alone in a world of moan, And my soul was a stagnant tide. ” /”Eulalie” by E. Poe/

Rhythm is a flow characterized by regular recurrence of elements in alternation with opposite or different elements (Webster). Rhythm in a language demands oppositions that alternate: longshort, stressed-unstressed, high-low etc.

Metre Academician V. M. Zhirmunsky suggests that the concept of rhythm should be distinguished from that of metre. Metre is any form of periodicity in verse and its kind is determined by the number of syllables in a verse.

A verse consists of n Feet (sg. foot) – units of qualitatively different syllables (stressed and unstressed) n Lines (sg. line) – sequences of feet ( a number of feet in a line rarely exceeds 8) n Stanzas (sg. stanza) – sequences of lines arranged according to rhyming and metrical patterns.

2) trochaic metre: /-/-: (хорей) Peter, pumpkin-eater, Had a wife and couldn’t keep her. Water, water, every where, And all the boards did shrink; Water, water, every where, Not a drop to drink. (S. T. Coleridge “The Rime of the Ancient Mariner”)

English metrical patterns: 3) dactylic metre: /--: (дактиль) Why do you cry, Willie? Why do you cry? Why, Willie, why, Willie, Why? 4) amphibrachic metre: - /-: (амфибрахий) A diller, a dollar, a ten o’clock scholar… 5) anapaestic metre: -- /: (анапест) Said the flee, “Let us fly, Said the fly, “Let us flee”, So they flew through a flaw in the flue

Examples Hyphenation: Kiddies and grown-ups too-oo-oo, We haven’t enough to do-oo-oo (R. Kipling). Steps: Piglet, sitting in the running Kanga's pocket, substituting the kidnapped Roo, thinks: this shall take "If is I never to flying really it. " (A. Milne)

n According to the frequency of usage, the first place among graphical means of foregrounding is occupied by italics. n Intensity of speech (often in commands) is transmitted through the multiplication of a grapheme or capitalization of the word. n Hyphenation of a word suggests the rhymed or clipped manner in which it is uttered.

2. Graphon n GRAPHON is the intentional violation of the graphic shape of a word or (word combination) used to reflect its authentic pronunciation.

4. Morphemic level of stylistic analysis n Morphemic foregrounding is meant to add logical, emotive & expressive connotations. n One important way of promoting a morpheme is REPETITION of root or affixational morphemes.

n emotive & evaluative meanings in degrees of comparison: E. g. : New scum, of course, has risen to take the place of the old, but the oldest scum (негодяй), the thickest scum, and the scummiest scum has come from across the ocean. (E. Hemingway)

WILLIAM WORDSWORTH THE DAFFODILS Analyse the rhythmical arrangement and rhymes of the poem. n I wandered lonely as a cloud n That floats on high o'er vales and hills, n When all at once I saw a crowd, n A host, of golden daffodils. n Beside the lake, beneath the trees, n Fluttering and dancing in the breeze.

The Cataract of Lodore by Robert Southey Identify the means of sound instrumentation and morphemic expressiveness of the extract Recoiling, turmoiling and toiling and boiling, And gleaming and streaming and steaming and beaming, And rushing and flushing and brushing and gushing, And flapping and rapping and clapping and slapping, And curling and whirling and purling and twirling, And thumping and plumping and bumping and jumping, And dashing and flashing and splashing and clashing; And so never ending, but always descending, Sounds and motions for ever and ever are blending All at once and all o'er, with a mighty uproar, And this way the water comes down at Lodore.